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La Conception De La Femme Dans La Trilogie « Algérie » De Mohammed Dib

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La Conception De La Femme Dans La Trilogie « Algérie » De Mohammed Dib Université de Lund Centre de langues et de littérature VT 2012 La conception de la femme dans la trilogie « Algérie » de Mohammed Dib Aïcha Aïdat Directrice de mémoire : Margareth Wijk Table des matières Table des matières ................................................................................. 1 1. Introduction ........................................................................................ 2 2. But et méthode ................................................................................... 4 3. Résumé de la trilogie ......................................................................... 4 3.1 La grande maison ............................................................................. 4 3.2 L´incendie ........................................................................................ 5 3.3 Le métier à tisser .............................................................................. 6 4. Analyse .............................................................................................. 6 4.1. La focalisationd'Aïni....................................................................... 6 4.2 La relation d’Aïni avec ses enfants ................................................. 7 4.3 La relation d'Aïni avec son entourage ............................................. 8 4.4. Mama de BniBoublen ..................................................................... 8 5.1 Le combat de la femme poursurvivre .............................................. 9 5.2 L'époque coloniale ......................................................................... 10 5.3 La situation sociale ........................................................................ 11 5.4 La fabrication de la femme ............................................................ 12 5.5 L´école ........................................................................................... 13 5.6. Dar Sbitaroul´espace-femme ........................................................ 14 5.7 L´amour ......................................................................................... 16 5.8 L´obéissance .................................................................................. 17 5. 9 La femme-mère ............................................................................. 18 5.10 La femme et la politique .............................................................. 18 6. Conclusion ....................................................................................... 20 7. Bibliographie ................................................................................... 22 1 1. Introduction La femme est présente dans la littérature mondiale depuis le début des temps, mais la façon dont on l´a présentée diffère d'une époque à l'autre et surtout d´une culture à l´autre. On a pu voir des mouvements qui ont essayé de défendre la cause de la femme pour établir une égalité sociale entre les deux sexes. La femme a fait des pas géants vers son émancipation et contre son exclusion sociale. Elle a en effet, grâce à la législation, obtenu autant de droits que l´homme, mais cela reste insuffisant, en plus que l´homme dans certain cas n´arrive pas à oublier sa transcendance historique pour assimiler la réalité. Dans la littérature la femme est passée de protagoniste à être écrivaine elle-même. Aujourd'hui l´étude de la condition de la femme constitue même un genre littéraire : gender studies dans beaucoup d´universités dans le monde entier. Mais la situation de la femme dans le monde arabe par rapport à celle de l'occident reste pourtant conservatrice. En plus des traditions ancestrales qui accablent la femme dans le monde arabe, la période de la colonisation occidentale, notamment en Algérie, a laissé son effet dans la société entre autre l'analphabétisme et la pauvreté. Une grande partie de la population est restée dans l'obscurité absolue et dans des cas pareils c´est la femme qui est la première victime de cette injustice. Durant la colonisation française, il a fallu des dizaines d'années avant que les écrivains indigènes commencent à comprendre leur tâche qui est de révéler la vérité du colonialisme à travers la description des problèmes de leur société qui est restée une société figée. Mohammed Dib est l´un de ces écrivains algériens qui ont pris cette responsabilité. Avec son réalisme et son engagement, il a fait connaître l´Algérie dans le monde littéraire durant la colonisation française. On a vu naître une nation dans ses écrits. Dans sa trilogie intitulée Algérie, il fait appel à une révolution, Jean Déjeux écrit dans son livre, La littérature algérienne contemporaine que Mohammed Dib « a voulu d´abord être témoin de sa société et de son temps1. » Né à Tlemcen en 1920, il y suit des cours à l´école française, puis fait des études à Oujda, au Maroc. Il sera tour à tour, fabricant de tapis, comptable et instituteur. Entre 1942 et 1944, il a été interprète des alliés à Alger. En 1947, il a dessiné des maquettes et contrôlé des tapis à 1 J. Déjeux, La littérature Algérienne contemporaine, Presses universitaires de France., coll. Que sais-je ?,n° 1604, Paris, 1979, p. 67 2 exemplaire unique. En 1950-1951, il a été reporter au journal Alger républicain2. Il a côtoyé de nombreux écrivains connus tels que Kateb Yacine3 et Albert Camus. Depuis 1946 Dib a écrit des poèmes, ensuite il a entamé le monde du roman sans cesser d´être poète du premier rang. En 1952, La grande maison, le premier volume de la trilogie est publié. Le deuxième volume L'incendie paraît en 1954 et le troisième Le métier à tisser en 1957. Cette trilogie est placée par les critiques dans la période « réaliste » de Mohammed Dib. Elle a vu le jour dans le contexte de la décolonisation des années 50. Cette période est appelée par l´écrivain Jean Déjeux la période « du témoignage et du dévoilement 4». Elle trace la vie quotidienne des Algériens pendant une période qui s´étend de la veille de la seconde guerre mondiale au débarquement des forces alliées en Algérie 1942. Et comme le dit Amhis-Ouksel dans son livre, Dar Sbitar à propos de la trilogie: « Toutes les couches sociales apparaissent à travers un regard lucide et vrai. Avant l'indépendance, Mohammed Dib dénonce l'exploitation, l'injustice sociale et, en même temps, met l'accent sur la prise de conscience5. » La trilogie a vu le jour dans le contexte de la décolonisation, elle est, pour ainsi dire, une autopsie sociologique de la société algérienne pendant la colonisation française. C´est un témoignage sur la détresse et l´espoir des Algériens. Dans les trois romans de Mohammed Dib la description des personnages et des lieux est si éminente qu´elle classe l´auteur dans le « courant ethnographique » des années 1950. Dans les trois romans les femmes sont toujours présentes, mais à l´intérieur. La femme est mise dans son cadre familial traditionnel, c'est une femme obéissante à son mari dont elle dépend. Elle s'occupe de sa maison et de ses enfants. On y trouve la mère de famille, la jeune adolescente, la célibataire et l´ouvrière. Certaines vendent leurs ouvrages faits à la main au marché. Quelques filles occupent aussi un travail manuel dans des manufactures. D'autres, comme Aïni, emportent le travail à faire à la maison. Le travail de la femme reste un signe d´infériorité sociale, mais, ces femmes n´ont pas d´autre choix. La grande maison baptisée ( Dar Sbitar ) « était destinée à des locataires qu'un souci majeur d'économie dominait6. » Elle a en commun des facilités comme le puits d´eau et les toilettes. Il est difficile de savoir le nombre de tous les habitants : « Dar- Sbitar était pleine comme une 2 Alger républicain est un quotitien algérien proche des milieux socialistes fondé en 1938 par Pascal Pia. 3 Kateb Yacine (1926-89), écrivain algérien. 4 Bonn, Charles, Lecture présente de mohammed Dib, ENL. Alger, 1988, p.12 5 D. Amhis-Ouksel, Dar Sbitar une lecture de la grande maison de Mohammed Dib, Casbah Éditions, Alger, 2006, p.11 6 M. Dib, La grande maison, Dahleb& Bouchène, Alger, 1995, p.61 3 ruche7. ». Dar Sbitar est un lieu d´un caractère à part entière dans cette histoire. Ici le milieu féminin est traditionnel. 2. But et méthode Il serait intéressant de faire une étude analytique sur la situation de la femme algérienne durant la colonisation française de l´Algérie à travers les personnages féminins de cette trilogie. Dans le premier tome La grande maison, l´écrivain s´est concentré sur Aïni, le personnage féminin principal du roman. On va donc suivre son quotidien de femme algérienne traditionnelle qui représente ainsi la majorité des femmes à l´époque. Aïni est aussi présente dans les deux autres romans, mais dans le deuxième tome L´incendie on s´approche des femmes de la campagne dont la plupart sont des paysannes ou femmes de cultivateurs et dans le troisième tome Le métier à tisser, la femme est moins présente, mais cette absence pourrait cependant être aussi parlante. Le plus intéressant c´est qu´on y retrouve Aïni comme on la retrouve dans L´incendie. Aïni est donc le personnage féminin principal de la trilogie, encore que ce soit son fils qui est au centre du récit. À travers la trilogie de Dib, on analysera la présence de la femme et son rôle dans la société algérienne. L´Algérie a été influencée par plusieurs civilisations qui ont laissé leurs traces dans la société. Et pour mieux comprendre d´où vient cette exclusion de la femme en Algérie, on va faire un survol historique sur la situation de la femme algérienne avant et pendant la colonisation française. 3. Résumé de la trilogie 3.1 La grande
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